Cheap Bel Canto (Music) (Vincenzo Bellini, Gaetano Donizetti, Gioacchino Rossini, Renee Fleming, Patrick Summers, Orchestra of St. Luke's) Price
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Fleming also displays her emotional affinity for the drama, pathos, and lyricism of the music and her ability to identify with her larger-than-life heroines. Chosen from familiar and unfamiliar operas, the music is beguilingly beautiful, ranging from peacefully pastoral to darkly menacing. However, some listeners may feel that Fleming's tendency to overinflect, overphrase, make long pauses, and put swells on long notes, especially in the slow arias, undercuts the music's simplicity and the directness of her expressive communication. The performances are based on the latest scholarly research into the "bel canto" style regarding historically correct ornamentation (only in repeats) and the problems of balancing textual fidelity with imaginative freedom. The Orchestra of St. Luke's gives splendid support, with outstanding solos, especially from the winds. --Edith Eisler
| ARTIST: | Vincenzo Bellini, Gaetano Donizetti, Gioacchino Rossini, Renee Fleming, Patrick Summers, Orchestra of St. Luke's |
| CATEGORY: | Music |
| MANUFACTURER: | Decca |
| TYPE: | Classical, Classical Vocals |
| MEDIA: | Audio CD |
| TRACKS: | Bellini/La sonnambula: "Ah!..se una volta sola", Bellini/La sonnambula: "Ah!..non credea mirarti", Bellini/La sonnambula: "Ah! non giunge uman pensiero", Donizetti/Maria Padilla: "Abbracciami", Donizetti/Maria Padilla: "Il piu tenero suon d'arpa morende", Donizetti/Maria Padilla: "Ah! non sai qual prestigio si cela", Rossini/Semiramide: Introduzione, Rossini/Semiramide: "Bel raggio lusinghier", Rossini/Semiramide: "Dolce pensiero di quell'istante", Bellini/Il pirata: Introduzione, Bellini/Il pirata: "Ah! s'io potessi dissipar le nubi", Bellini/Il pirata: "Col sorriso d'innocenza", Bellini/Il pirata: "Oh sole! ti vela di tenebre oscure", Rossini/Armida: "D'Amor al dolce impero", Rossini/Armida: "Gli augei tra fronde e fronde", Rossini/Armida: "La fresca eta sen fugge", Rossini/Armida: "Ah! si, godete amanti", Donizetti/Lucrezia Borgia:"M'odi, ah m'odi, io non t'imploro", Donizetti/Lucrezia Borgia: "Figlio!...Figlio!...Ola, qualcuno!", Donizetti/Lucrezia Borgia: "Era desso il figlio mio" |
| # OF MEDIA: | 1 |
| UPC: | 028946710128 |
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Customer Reviews of Bel Canto
Fleming takes too many risks and falls I used to like Renee when she was singing the right repertoire for her voice. Her "beautiful voice" CD was reminescent of Te Kanawa's prime, her Sony Armida a solid display of virtuosity and musical intuition. Then Renee thought, or was convinced, that she could step into the shoes of the soprano absoluta and terrible things happened! Massenet's Manon, Donizetti's Lucrezia Borgia, the list goes on and on........
Renee has a beautiful lyrical voice that is now plagued with imperfections and mannerisms that affect her performances continuosly. Her last Figaro was reproachable, full of cooing, scooping, overdone dramatic inflections...is this Mozart after all?
This bel canto CD is a mixture of bad advice, poor taste, and lacking resources. Her Armida is nowhere close to the impeccable Sony recording, Lucrezia is practically unrecognizable, and Semiramide sounds like a contemporary jazz piece. She should have been able to do better with Il pirata. Like predecessors of hers with wonderful lyrical voices (Caballe, Gencer, Scotto) not to mention Callas, she should have been able to turn this opera into her own trademark. What has happened to Renee?
A walk in the park...
Renee Fleming with her Immense Voice and Flawless Technique transforms impossible roles like Imogene and Lucrezia into simple walks in the park... Especially in Pirata she sings Imogene's Mad Scene with a chest register of velvety depth and frightening drama, a middle of superlative beauty and high notes that sparkle like diamonds. She is a PHENOMENON... She sings "Qual suon feralle..." with all the complex fioritura with vocal leaps and fioritura and Drama that will take your breath away.
Trully amazing singing...
The definite Lucrezia
I had the honour to hear three of the greatest Lucrezias ever: Caballe, Gencer and Fleming. All three had their merits and I must say that Fleming was the definite package. A beautiful voice, a dramatic actress, a singer willing to challenge every risk and a great technique. Add to that her lovely looks and sweetness in person. Of the three she was the combination of a lovely voice & drama and good looks & acting. I wouldn't want to erase Caballe&Kraus out of my memory. But they are the past, as was Leyla Gencer and her glorious Gennaro, José Carreras. Fleming sang this role to perfection. And regarding tacky ornamentation: I heard Sills doing Lucia with Carreras (A recording exists) and what she did there blows Renee's "tacky" ornaments out of the water. She disfigured every line Donizetti wrote with senseless, mannered ornaments. A shame because I love her studio-Lucia.